From Jason X to Leprechaun 4: In Space, these horror franchises took an unexpected turn – straight into outer space. Discover the most absurd and entertaining horror sequels that traded screams for starlight.
At some point in cinematic history, horror writers must have looked at the stars and thought, “Yeah, let’s send the monsters there.” Because why settle for haunted houses or cursed towns when you can unleash evil in zero gravity? From slashers to demons and even tiny alien furballs, horror has an odd fascination with turning the cold void of space into the next frontier of terror – or, more often, unintentional comedy.
There’s something inherently ridiculous and charming about watching familiar horror villains float around in astronaut suits, fighting to survive – or kill – among the stars. These movies prove that no franchise is safe from creative desperation or cosmic curiosity. So buckle up, grab your popcorn, and prepare for a trip through the strangest corner of horror history: when fear boldly went where no one asked it to go.
Amityville in Space (2022)
The infamous haunted house from Amityville doesn’t just stay on Earth – in this one, it flits off into the cosmos, cursed and still deadly. The premise is gloriously dumb: an attempted exorcism somehow sends the entire house into orbit, where unsuspecting astronauts discover its malevolent presence. The film leans into its own low budget, embracing ragtag special effects and confused plot shifts like badges of honor. You’ll see demonic orbs, floating rooms, time loops, and priestly regrets galore. It’s not about coherency – it’s about witnessing the Amityville curse play dodgeball with logic.
The Cloverfield Paradox (2018)
The boundary between horror and sci-fi dissolves in this wild experiment aboard a space station. A particle accelerator goes haywire, Earth vanishes, and suddenly crew members are juggling monsters, alternate timelines, and cosmic terror. The movie tries to connect the dots between the Cloverfield universe and interdimensional chaos – sometimes successfully, often not. It swerves between suspense, existential dread, and “Wait, what just happened?” moments with strange gusto. When characters peer out windows into NOTHINGNESS, you feel their panic – and your own confusion.
Dracula 3000 (2004)
Space vampires, zero sunlight, and a crew that probably should’ve taken a cruise instead of signing up for this mission. Dracula 3000 gives us Van Helsing in orbit, where he discovers the vampire mythos isn’t bound to castles and fog – it’s also terrifying in the vacuum of space. The film leans into its sci-fi horror mashup with cheesy effects, over-dramatic dialogue, and a cast including Coolio, which already tells you this film is playing for laughs as much as chills. Aliens, coffins, and vampire lord Orlock all get their moment, often in ways that defy logic but entertain hard. It’s the kind of horror movie that makes you ask “who greenlit this?” but rewards you for staying till the crazy ending.
Jason X (2001)
This is horror franchise escalation at its finest: Jason Voorhees, cryogenically frozen, awakens centuries later aboard a spaceship – because Earth was feeling too crowded. The film is part slasher, part sci-fi parody, complete with futuristic visuals, robot upgrades, and zero regard for realism. Jason becomes “Uber Jason,” a cyborg killer with sharp blades and sharper attitudes. The spaceship corridors echo horror cliches while the cold vastness outside makes each kill feel more ridiculous. It’s camp, grotesque, and borderline brilliant – a perfect pick for horror fans who want to scream and snicker.
Hellraiser: Bloodline (1996)
Some horror franchises stop at haunted houses or demonic puzzles; others decide that hell needs a space station. In Hellraiser: Bloodline, Pinhead and the Cenobites aren’t just messing with earthly souls, they’re threatening cosmic order aboard a spaceship built to trap them. The movie shifts between 18th-century toy maker origins and futuristic engineering drama, giving us bizarre contrasts: ornate corsets and leather visors, Victorian intrigue and zero-G hellscapes. The transition from toy-box myth to space station siege is jarring, but that’s the fun: seeing the supernatural duke it out in sci-fi environments. It’s ambitious, often messy, and absolutely worth the ride if you like your horror with both archaic curses and rocket fuel.
Leprechaun 4: In Space (1996)
When you thought leprechauns couldn’t get weirder, they fly you off to space. Leprechaun 4: In Space abandons Irish folklore’s rolling green hills for alien planets, royalty, and lasers. The titular leprechaun, of course, doesn’t trade his wicked grin or murderous tendencies for weightlessness; he just adapts. Marines, princesses, and badly rendered alien tech make for a chaotic clash of subgenres – fantasy horror meets campy sci-fi. Dialogue is goofy, deaths are ridiculous, and you’ll probably laugh more than scream, but that’s half the point. Watching it, you realize the absurd idea of a malevolent fairy in space is somehow the perfect foil for nighttime chills disguised as comedy.
Critters 4 (1992)
The Critters franchise was always about fuzzy alien monsters eating things on Earth – but in Critters 4, they get themselves sent off Earth, entering orbit and space stations. The tone shifts darker as these little carnivorous critters hatch trouble in zero gravity, turning sci-fi settings into small-scale death traps. You’ll see the film juggle creature effects, claustrophobic corridors, and panic that doesn’t let up just because the characters are in spaced out metal rooms. Actors are running, alien eggs are hatching, and logic seems optional (in the best possible way). If the idea of being hunted by critters while drifting through the void sounds ridiculous, that’s because it is – and it makes it memorably mad.
Frankenstein Meets the Space Monster (1965)
Somewhere between classic monster horror and bargain-bin sci-fi lies Frankenstein Meets the Space Monster – a 1965 gem that truly earns its outrageous title. Instead of the stitched-up creature we all know, this one stars a robot version of Frankenstein taking on aliens who’ve come to Earth to abduct women for their dying planet. The result is a chaotic mix of stock footage, tinfoil spaceships, and wild ‘60s optimism about space travel. It’s cheap, it’s weird, and it’s bursting with that “so bad it’s good” energy that makes midnight movie lovers grin from ear to ear. Think of it as Frankenstein meets Plan 9 from Outer Space, and you’re halfway there.